Cumincad : CUMINCAD Papers : Search Results

CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id	avocaad_2001_05
id	avocaad_2001_05
authors	Alexander Koutamanis
year	2001
title	Analysis and the descriptive approach
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	The rise of consciousness concerning the quality of working and living conditions has been a permanent though frequently underplayed theme in architecture and building since the reconstruction period. It has led to an explosive growth of programmatic requirements on building behaviour and performance, thus also stimulating the development of design analysis. The first stage of development was characterized by the evolution of prescriptive systems. These reversed the structure of pre-existing proscriptive systems into sequences of known steps that should be taken in order to achieve adequate results. Prescriptive systems complemented rather than replaced proscriptive ones, thereby creating an uncertain mixture of orthodoxy and orthopraxy that failed to provide design guidance for improving design performance and quality.The second stage in the development of design analysis focuses on descriptive methods and techniques for analyzing and supporting evaluation. Technologies such as simulation and scientific visualization are employed so as to produce detailed, accurate and reliable projections of building behaviour and performance. These projections can be correlated into a comprehensive and coherent description of a building using representations of form as information carriers. In these representations feedback and interaction assume a visual character that fits both design attitudes and lay perception of the built environment, but on the basis of a quantitative background that justifies, verifies and refines design actions. Descriptive analysis is currently the most promising direction for confronting and resolving design complexity. It provides the designer with useful insights into the causes and effects of various design problems but frequently comes short of providing clear design guidance for two main reasons: (1) it adds substantial amounts of information to the already unmanageable loads the designer must handle, and (2) it may provide incoherent cues for the further development of a design. Consequently the descriptive approach to analysis is always in danger of been supplanted by abstract decision making.One way of providing the desired design guidance is to complement the connection of descriptive analyses to representations of form (and from there to synthesis) with two interface components. The first is a memory component, implemented as case-bases of precedent designs. These designs encapsulate integrated design information that can be matched to the design in hand in terms of form, function and performance. Comparison between precedents with a known performance and a new design facilitate identification of design aspects that need be improved, as well as of wider formal and functional consequences. The second component is an adaptive generative system capable of guiding exploration of these aspects, both in the precedents and the new design. The aim of this system is to provide feedback from analysis to synthesis. By exploring the scope of the analysis and the applicability of the conclusions to more designs, the designer generates a coherent and consistent collection of partial solutions that explore a relevant solution space. Development of the first component, the design case-bases, is no trivial task. Transformability in the representation of cases and flexible classification in a database are critical to the identification and treatment of a design aspect. Nevertheless, the state of the art in case-based reasoning and the extensive corpus of analysed designs provide the essential building blocks. The second component, the adaptive generative system, poses more questions. Existing generative techniques do not possess the necessary richness or multidimensionality. Moreover, it is imperative that the designer plays a more active role in the control of the process than merely tweaking local variables. At the same time, the system should prevent that redesigning degenerates into a blind trial-and-error enumeration of possibilities. Guided empirical design research arguably provides the means for the evolutionary development of the second component.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	c78f
authors	Fischer, T. and Herr, C.M.
year	2001
title	Teaching Generative Design
source	Soddu, C., ed. (2001). The Proceedings of the Fourth International Conference on Generative Art 2001. Milan, Italy: Generative Design Lab, DiAP, Politechnico di Milano University
summary	Generative design, which integrates multidisciplinary types of expertise in unconventional ways, was reserved just until recently to experienced and highly autodidactic designers. However, growing recognition of the importance of generative design methodologies have resulted in a need to introduce theories and applications of generative design to undergraduate students as part of their design studies. This emerging educational field of generative design teaching currently lacks methodologies, teaching experience and introductory study material. Available textbooks related to algorithmic form generation, discussing algorithmic growth, artificial life, fi-actal images, emergent behaviour and the like have originated in the field of mathematics. This resource provides an abundance of examples and generative approaches but when adapted to design education, it poses great interdisciplinary challenges which are addressed in this paper. Experiences in generative design teaching are presented, focusing on the relation between algorithmic reproduction of nature (as emphasized by authors in the mathematical field) and innovation (as commonly emphasized in design education). This discussion leads to a derivation of pedagogic suggestions as early steps on the way towards theories and curricula of generative design teaching, addressed to curriculum planners, generative design teachers as well as novices of the field such as undergraduate students.
series	other
last changed	2003/04/23 15:50

_id	ga0129
id	ga0129
authors	Fischer, Thomas and Herr, Christiane M.
year	2001
title	Teaching Generative Design
source	International Conference on Generative Art
summary	Generative design, which integrates multidisciplinary types of expertise in unconventional ways, was reserved just until recently to experienced and highly autodidactic designers. However, growing recognition of the importance of generative design methodologies have resulted in a need to introduce theories and applications of generative design to undergraduatestudents as part of their design studies. This emerging educational field of generative design teaching currently lacks methodologies, teaching experience and introductory study material. Available textbooks related to algorithmic form generation, discussing algorithmic growth, artificial life, fractal images, emergent behaviour and the like have originated in the field of mathematics. This resource provides an abundance of examples and generative approaches but when adapted to design education, it poses great interdisciplinary challenges which are addressed in this paper. Experiences in generative design teaching are presented, focusing onthe relation between algorithmic reproduction of nature (as emphasized by authors in the mathematical field) and innovation (as commonly emphasized in design education). This discussion leads to a derivation of pedagogic suggestions as early steps on the way towards theories and curricula of generative design teaching, addressed to curriculum planners, generative design teachers as well as novices of the field such as undergraduate students.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	943c
authors	Hendricx, A. and Neuckermans, H.
year	2001
title	The object model at the core of the IDEA+ design environment
source	Beheshti, R. (ed), Advances in Building Informatics, Proceedings of the 8th EuropIA International Conference on the application of Artificial Intelligence, Robotics and Image Processing to Architecture, Building Engineering & Civil Engineering, Delft, The Netherlands, April 25-27, 2001, pp. 113-125
summary	This paper focuses on three different aspects in which the IDEA+ core model differs from many other product modelling research initiatives: the systematic approach in the construction of the model, the respect for the evolutionary nature of architectural design, and the use of actual and complete design cases to test the model. Key words: CAAD, product modelling, integrated design environment, MERODE 1 The IDEA+ project: towards an integrated design environment In spite of the extensive use of all kinds of hardware and software in the architectural offices, the use of computers still does not contribute essentially to better architecture. For the CAD packages on the one hand, they have proven to be an efficient alternative for the traditional drawing board. Yet they fail in the early conceptual stage of design where creativity and exploration play the leading role. For computational tests and analysis tools on the other hand, they can hardly handle the typical absence o
series	other
email
last changed	2003/04/23 15:14

_id	2abf
id	2abf
authors	Rafi, A
year	2001
title	Design creativity in emerging technologies
source	In Von, H., Stocker, G. and Schopf, C. (Eds.), Takeover: Who’s doing art of tomorrow (pp. 41-54), New York: SpringerWein.
summary	Human creativity works best when there are constraints – pressures to react to, to shape, to suggest. People are generally not very good at making it all up from scratch (Laurel, 1991). Emerging technology particularly virtual reality (VR) Multimedia and Internet is yet to be fully discovered as it allows unprecedented creative talent, ability, skill set, creative thinking, representation, exploration, observation and reference. In an effort to deliver interactive content, designers tend to freely borrow from different fields such as advertising, medicine, game, fine art, commerce, entertainment, edutainment, film-making and architecture (Rafi, Kamarulzaman, Fauzan and Karboulonis, 2000). As a result, content becomes a base that developers transfer the technique of conventional medium design media to the computer. What developers (e.g. artist and technologist) often miss is that to develop the emerging technology content based on the nature of the medium. In this context, the user is the one that will be the best judge to value the effectiveness of the content. The paper will introduce Global Information Infrastructure (GII) that is currently being developed in the Asian region and discuss its impact on the Information Age society. It will further highlight the ‘natural’ value and characteristics of the emerging technologies in particular Virtual Reality (VR), Multimedia and Internet as a guidance to design an effective, rich and innovative content development. This paper also argues that content designers of the future must not only be both artist and technologist, but artist and technologist that are aware of the re-convergence of art and science and context in which content is being developed. Some of our exploration at the Faculty of Creative Multimedia, Multimedia University will also be demonstrated. It is hoped that this will be the evidence to guide future ‘techno-creative designers’.
keywords	design, creativity, content, emerging technologies
series	book
type	normal paper
email
last changed	2007/09/13 03:46

_id	ga0135
id	ga0135
authors	Roncoroni, Umberto
year	2001
title	BioIcons
source	International Conference on Generative Art
summary	BioIcons are images developed with artificial life, especially modified Cellular Automata to simulate a sort of living artistic tool. Each image is a spontaneous creation of Artificial Life: different shapes and colors are assigned to each cell of the digital being; this is done linking the “biological” state of each cell and the auto similarity existing between the cell and the digital being as a whole. The resulting picture is like a microscopic view, because we can endlessly magnify portions of the image, using this process to reach, conceptually and visually, the integration between Fractals andArtificial Life. BioIcons, as the rest of my work, is the product of my programming efforts: I think that using proprietary algorithms supports autonomy and originality. I started this work studying Cellular Automata algorithms; some of them are mutations of classic Cellular Automata, others are my own creations. After that, I studied how to force the Cellular Automata to behave like an artistic tool, introducing special parameters linked with color theory, perception and auto similarity. Finally, I studied an interface in such a way to allow interaction between the artificial artists and the user, and to transform the image into an interactive and dynamic process. The dynamic interactions between the piece of art and the public, the transformation of the artistic process into something open and free and the close connections between art and investigation are the orienting ideas of my artistic effort. Yet I’m also concerned with digital technology as it should be applied to art, mainly to discover the medium’s artistic language. I consider of great importance, for my artistic development, the opportunity to integrate my strong love for nature and life with art and mathematics, with the help of computer technologies.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	5bcd
authors	Rügemer, Jörg
year	2001
title	Computer Generated Architectural Design: 160 custom-made Architectural data flow from schematic design into Computer Aided Manufacturing
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 288-292
doi	https://doi.org/10.52842/conf.ecaade.2001.288
summary	The paper constitutes the introduction of a new approach into architectural design methods at the Institute for Architectural Design and CAD. It describes the experience with regard to the learning process and explains the design studio experiment ‘160 custom-made’. The design method has been developed from different actual building procedures. ‘160 custom-made’ provokes the contradiction between a modernistic architectural approach (industrialized parts and series manufacturing) and computer based design and manufacturing processes which promise the realization of almost every imaginable architectural shape at no extra cost. The students visited several Companies in Germany, Switzerland and Austria, who demonstrated state-of-the-art-technology-manufacturing methods on various materials. This Computer Aided Manufacturing (CAM) process then became the basis for discovering a new way to speculate about solutions to a design problem. The project was described into computer aided modeling starting early in the design. In the beginning participants were asked to design an object using terms, images and ideas, entirely detached from architectural thinking and without the knowledge of the actual architectural goal. ‘Maya’, a three-dimensional modeling software, was introduced at the same time, which allowed participants to translate the analog data of their models into a digital model description. In the last project phase this knowledge was used to visualize the models with the computer; a programmatic task was added to the design as the students proceeded with the further development stages of the project. The group searched for ways to translate the produced data structures and to drive the Computer Aided Manufacturing (CAM) process. The easy building of quick models with this technology proved to be more difficult than expected. ‘160 custom-made’ participants were confronted with an entirely new method of designing due to the unusual procedures needed to handle digital data information in order to receive the desired output.
keywords	Computer Aided Manufacturing, Rapid Prototyping, Design Education, Digital Design Development, Data Structures
series	eCAADe
email
last changed	2022/06/07 07:56

_id	avocaad_2001_13
id	avocaad_2001_13
authors	Alexander Koutamanis
year	2001
title	Modeling irregular and complex forms
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Computational technologies provide arguably the first real opportunity architectural design has had for a comprehensive description of built form. With the advent of affordable computer-aided design systems (including drafting, modeling, visualization and simulation tools), architects believe they can be in full control of geometric aspects and, through these, of a wide spectrum of other aspects that are implicit or explicit in the geometric representation. This belief is based primarily on the efficiency and effectiveness of computer systems, ranging from the richness and adaptability of geometric primitives to the utility of geometric representations in simulations of climatic aspects. Such capabilities support attempts to design and construct more irregular or otherwise complex forms. These fall under two main categories: (1) parsing of irregularity into elementary components, and (2) correlation of the form of a building with complex geometric structures.The first category takes advantage of the compactness and flexibility of computational representations in order to analyse the form of a design into basic elements, usually elementary geometric primitives. These are either arranged into simple, unconstrained configurations or related to each other by relationships that define e.g. parametric relative positioning or Boolean combinations. In both cases the result is a reduction of local complexity and an increase of implicit or explicit relationships, including the possibility of hierarchical structures.The second category attempts to correlate built form with constraints that derive usually from construction but can also be morphological. The correlation determines the applicability of complex geometric structures (minimally ruled surfaces) to the description of a design. The product of this application is generally variable in quality, depending upon the designer's grounding in geometry and his ability to integrate constraints from different aspects in the definition of the design's geometry.Both categories represent a potential leap forward but are also equally hampered by the rigidity of the implementation mechanisms upon which they rely heavily. The paper proposes an approach to making these mechanisms subordinate to the cognitive and technical aspects of architectural thinking through fuzzy modeling. This way of modeling involves a combination of (a) canonical forms, (b) tolerances around canonical forms and positions, (c) minimal and maximal values, (d) fuzzy boundaries, and (e) plastic interaction between elements based on the dual principles of local intelligence and autonomy. Fuzzy models come therefore closer to the intuitive manners of sketching, while facilitating transition to precise and complex forms. The paper presents two applications of fuzzy modeling. The first concerns the generation of schematic building layouts, including adaptive control of programmatic requirements. The second is a system for designing stairs that can adapt themselves to changes in their immediate environment through a fuzzy definition of geometric and topological parametrization.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	66f8
authors	Asanowicz, Alexander
year	2001
title	Information at Early Design Stages
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 105-110
doi	https://doi.org/10.52842/conf.ecaade.2001.105
summary	This paper concentrates on information at the early stages of the design process. However those do not concern all the information regarding the task available to the designer or the already existing solutions, but the information generated by the designer during the process of problem solving. The creative nature of architectural design and the lack of complete information during the process determine the role and the place of the information system in the design. It is necessary that the information system correspond to the raw form of expression of the designer as it appears at the early design stages. In the traditional creative activity, an image of the architectural form is developed through graphic expression such as sketches, words and sentences. Changing the design environment from analog to digital does not solve the design problems at all. IT creates new possibilities for generating design information thanks to new tools as well as new software. The multiplicity of methods only makes the problem of the amount and accessibility of information more complicated.
keywords	Early Design Stages, Hybrid Design Environment
series	eCAADe
email
last changed	2022/06/07 07:54

_id	174f
authors	Bakker, N.H.
year	2001
title	Spatial Orientation in Virtual Environments
source	Delft University of Technology
summary	Recently, a growing interest can be detected in the application of Virtual Environment (VE) technology as an operator interface. VEs are three-dimensional computer-generated images that can be shown on a conventional monitor, on a large screen display, or on a head-mounted display. In order to use these three-dimensional interfaces for finding and retrieving information, the user must be able to spatially orient themselves.Different types of VE technology are available for navigating in these VEs, and different types of navigation can be enabled. A choice has to be made between the different options to enable good spatial orientation of the user. There are two main types of VE interfaces: an immersive interface that provides rich sensory feedback to the user when moving around in the VE, and a non-immersive interface that provides only visual feedback to the user when moving around in the VE. Furthermore, navigation through the VE can either be continuous providing fluent motion, or can be discontinuous which means that the viewpoint is displaced instantaneously over a large distance.To provide insight into the possible effects of these options a series of nine experiments was carried out. In the experiments the quality of spatial orientation behaviour of test subjects is measured while using the different types of interface and the different types of navigation.The results of the experiments indicate that immersive navigation improves the perception of displacement through the VE, which in turn aids the acquisition of spatial knowledge. However, as soon as the spatial layout of the VE is learned the two types of navigation interface do not lead to differences in spatial orientation performance. A discontinuous displacement leads to temporary disorientation, which will hinder the acquisition of spatial knowledge. The type of discontinuous displacements has an effect on the time needed for anticipation. The disorienting effects of a discontinuous displacement can be compensated for by enabling cognitive anticipation to the destination of the displacement.These results suggest that immersive navigation might only be beneficial for application domains in which new spatial layouts have to be learned every time or in domains where the primary users are novices. For instance, in training firemen to teach them the layout of new buildings with VE, or in using architectural walkthroughs in VE to show new building designs to potential buyers. Discontinuous movement should not be allowed when exploring a new environment. Once the environment is learned and if fast displacement is essential then discontinuous displacement should be preferred. In this case, the interface designer must make sure that information is provided about the destination of a discontinuous displacement.
series	thesis:PhD
last changed	2003/11/21 15:16

_id	22ec
authors	Bechthold, Martin
year	2001
title	Complex shapes in wood: Computer-aided design and manufacture of wood-sandwich roof shells
source	Harvard University
summary	Computer-Aided-Design, Engineering and Manufacturing (CAD/CAE/CAM) technology has changed the way consumer products, automobiles or airplanes are designed and made. The emerging applications for CAD/CAE/CAM technology in architecture, and the way this technology impacts how we design and construct the built environment, are yet unclear. This thesis investigates the relation between advanced digital design tools and the making of physical objects by focusing on an exemplary architectural element—wooden roof shells. The research objective is to expand the scope of architectural design through the application of CAD/CAE/CAM technology rather than to use this technology to streamline existing processes. The thesis develops a specific technical solution that allows the design and manufacture of new types of wooden roof shells. These are complexly shaped multifunctional construction elements that are manufactured off-site. Based on the close connection between digital design tools and the new Computer-Numerically-Controlled manufacturing process the author proposes a theoretical model of shared digital environments for collaborative design in architecture. The proposed manufacturing process treats wood as a modern composite material. Thin wood strips and foams combine into structural sandwich panels that can then be joined into a roof shell. The geometrically complex panels are generated by a combination of subtractive Computer-Numerically-Controlled machining processes and manual work. Infrastructure elements can be embedded into the sandwich build-up in order to enhance the functionality of the roof as a building envelope. Numerical tools are proposed that allow the determination of manufacturing-related parameters in the digital design environment. These inform the architectural and structural design in the early design phases. The digital collaborative design environment is based on a shared parametric solid model and an associated database. This collectively owned, feature-based design model is employed throughout the design and manufacturing process and constitutes the means of concurrent design coordination of all participants. The new manufacturing process for wood/foam sandwich shells is verified by designing and manufacturing prototypes. Design guidelines and a cost estimation are presented as the practical basis for architects and engineers to incorporate new types of roof shells into architectural projects.
keywords	Architecture; Agriculture; Wood Technology; Design and Decorative Arts
series	thesis:PhD
last changed	2003/02/12 22:37

_id	35a7
authors	Brown, André G.P.
year	2001
title	Architectural critique through digital scenariobuilding. Augmenting Architectural Criticism and Narrative
source	Proceedings of the Ninth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, pp. 697-709
summary	As an idea scenario-building has parallels the use of creative faking in related disciplines, most particularly, in contemporary art. The techniques involved in scenario-building and faking offer us enhanced ways of undertaking creative thinking and critical review of architecture and architectural projects. Critical review and theoretical analysis of architecture can be undertaken via a range of methods that Attoe (1978) classifies as Normative, Interpretive and Descriptive. Digital representation now offers us new ways of augmenting these critical styles in ways that have yet to be fully exploited, and possible means of exploitation are illustrated in this paper. In short the work described here shows how digital techniques can be used to enrich architectural investigation, critical reporting and debate.
keywords	Digital Recreation, Scenario-Building, Narrative, Fake, Architectural Critique
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	ga0108
id	ga0108
authors	Caicco, Gregory P.
year	2001
title	Cunning Crafts or Poetic Place-Making? Towards a Historiography of Generative Art
source	International Conference on Generative Art
summary	This paper begins by considering the meaning and relationship between generativity and art. From there an historical analysis of these terms maps out the philosophical terrain of generative art in practice and theory. It is hypothesized that the degree to which a generativity, or birthing, may be understood as inherent in art understood as a poetic making, is the degree to which the term generative becomes a redundant qualifier of the term art. An argument is then made that art and art-making as a poetic production has an ethical vocation to critique its sources and its media in order to imagine worlds where the marginalized other, as other, is received. As a result, the unqualified adoption of computer, machine, biologicalor chemical media, as well as the mathematic or pragmatic instructions that define the execution of their works, needs to be questioned.I conclude with an historiographical examination of the Babylonian abacus and the medieval ars memoritiva, in particular, Ramon Lull’s 1274 figura universalis. Even though computing historians have claimed these as proto-computers, a deeper examination of their meaning, use and context reveal a fundamentally mimetic vocation that provides the possibility of poetic place-making, as an ethics, which is otherwise absent in thecontemporary microprocessor. The question is therefore raised whether the works presented at “generative art” galleries, websites and conferences such as this may make any claim to poetry, ethics or art per se if their use of mathematics and automation remains uncritical.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0104
id	ga0104
authors	Caillaud, Bernard
year	2001
title	Cellular Automata and Algorithmic Visual Creation
source	International Conference on Generative Art
summary	The cellular automaton concept, a reduced form of automaton concept (specific , in the beginning, to cybernetics and computer science) relates to the notion of local order, dear to Abraham Moles, and refers to the creation of a complex order in a set of cells ( or pixels for digital images) based on a simple law which determine the colorimetric state of each pixelaccording to the colorimetric state of its nearest neighbours. I will examine one-dimensional automata and then two-dimensional ones. I will study theirmorphogenetical properties in the case of neutral values and then of chromatic ones. I will talk about my own creative work, closely related to an "orientated morphogenesis".This latter has its place quite naturally in Generative Art . I will look at paradigmatic explorations,parametric creations, programming perturbations, conditional choices, "chromatisation" and hybridation. To finish, I will describe the last stage of the work which consists, if necessary, of reworking the initial files so as to modify then through "software creation".
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	7a20
id	7a20
authors	Carrara, G., Fioravanti, A.
year	2002
title	SHARED SPACE’ AND ‘PUBLIC SPACE’ DIALECTICS IN COLLABORATIVE ARCHITECTURAL DESIGN.
source	Proceedings of Collaborative Decision-Support Systems Focus Symposium, 30th July, 2002; under the auspices of InterSymp-2002, 14° International Conference on Systems Research, Informatics and Cybernetics, 2002, Baden-Baden, pg. 27-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2005/03/30 16:25

_id	6279
id	6279
authors	Carrara, G.; Fioravanti, A.
year	2002
title	Private Space' and ‘Shared Space’ Dialectics in Collaborative Architectural Design
source	InterSymp 2002 - 14th International Conference on Systems Research, Informatics and Cybernetics (July 29 - August 3, 2002), pp 28-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2012/12/04 07:53

_id	7ff9
authors	Choi, J.-W., Lee, H.-S., Hwang, J.-E. and Kim, M.-J.
year	2001
title	The Wooden Construction data modeling of korean traditional architecture - Focused on the structure of Gongpo in Buseoksa MuRyangsujun
source	CAADRIA 2001 [Proceedings of the Sixth Conference on Computer Aided Architectural Design Research in Asia / ISBN 1-86487-096-6] Sydney 19-21 April 2001, pp. 265-274
doi	https://doi.org/10.52842/conf.caadria.2001.265
summary	Finding national identities from its traditional heritages might be an important research issue especially for Asian architects and researchers. Nevertheless, it is noticed that the structure of Korean traditional architecture has not been fully explored in a systematical or computational manner and its information is not shared efficiently. This study thus explores a computational way of structuring construction knowledge and building information of Korean traditional architecture.Ý To do this, we select a well-known old temple building, Buseoksa Muryangsujun, one of the oldest Buddhist temple in Korea, as a prototype. We first build an accurateÝ three-dimensional model of the building with an aid of a traditional building expert, categorize its building components, and then analyze their connectivity and the connectivity patterns and rules by especially focusing on the capital order system, called Gongpo. The result of the study shows several schema diagrams representing the wooden construction data model carefully designed for an intelligent building simulation and generative system that will be developed in the near future.Ý The paper also demonstrates a way of computationally describing some shape grammars that explain the components' connectivity.
series	CAADRIA
email
last changed	2022/06/07 07:56

_id	ga0123
id	ga0123
authors	Coates P., Appels, T. Simon, C. and Derix, C.
year	2001
title	Current work at CECA
source	International Conference on Generative Art
summary	The centre for environment computing and architecture continues to experiment with new ways to form, and this paper presents three recent projects from the MSc programme. The three projects all share underlying assumptions about the use of generative algorithms to constructform, using fractal decomposition, lindenmayer systems and the marching cubes algorithm respectively to construct three dimensional "architectural" objects. The data needed to drive the morphology however ranges from formal proportional systems and Genetic L systems programming through swarming systems to perceptive self organising neural nets. In all cases, the projects pose the question what is architectural form. While after Stanford Anderson (Anderson 66) we know it is simplistic to say that it is an automatic outcome of a proper definition of the brief, it is also difficult to accept that the form of a building is an entirely abstract geometrical object existing without recourse to social or contextual justification. In anattempt to resolve these issues we have turned to the study of systems and general system theory as a way of understanding the mechanics of emergence and morphogenesis generally, and the
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0121
id	ga0121
authors	Collins, N. M.
year	2001
title	Further Automatic Breakbeat Cutting Methods
source	International Conference on Generative Art
summary	Following the invention of an automatic breakbeat cutting algorithm in the style of early 90s jungle, further experiments are described. These are namely, the use of more advanced techniques to control choices in the original algorithm, and new algorithms for cutting including methods based on campanology and recursion. Automatic breakbeat cutting can reduce the effort of working by hand in a sequencer with MIDI triggering of a sampler. Furthermore, the parameterisation of the process concedes newtechniques that can be awkward to implement with a sequencer, for example, cutting in septuplet demisemiquavers. To improve the original algorithm, states, whether offsets, cut sizes or repetition counts, canbe governed by Charles Ames' method of statistical feedback. Weight distributions can be changed during a phrase to give more control of cut sequence structure. These processes are investigated in the light of the output pacing and variation of cut sequences. Campanology, or change ringing, is based on a small subset of a permutation group consistingof permutations that can only swap adjacent elements in distinct pairs. When acting upon offsets into the source a fluid series of undulating cuts can be produced. Recursive cutting is an analytical test of second order cutting. It takes a base sequence of [cut length, offset] pairs and further cuts them up, producing variations on a given cut sequence. The Warp Cutter is inspired by the thought of constant stutters and rolls. Probabilities control the likelihood of simple blocks, even rolls or geometric accelerating rolls, usually at very fast repetition rates. All methods have been implemented as SuperCollider patches and classes, and publiclyreleased to accompany this paper in the BBCut Library.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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